Manakin Skywalker

In 1983, the Return of the Jedi OST track "Rebel Briefing" actually contains music from the end of the movie.  The cue for the rebel briefing is not on the album.
 
In 1988, the Accidental Tourist OST track "Wedding Scene" actually contains an alternate Main Title cue.
 
In 1989, the Last Crusade OST track "Escape From Venice" contains the music for a boat chase that happens entirely within Venice, a place they continue to be in for a while after the chase.  The cue for when they leave Venice for Austria isn't on the album.
 
In 1997, the Lost World OST track "Rescuing Sarah" is for the second half of the trailer sequence, after Sarah is already rescued from the glass and they are working as a whole to get out of the trailer together.  The actual cue for her being rescued from the glass isn't on the album.
 
In 1997, the Amistad OST track "Mr. Adams Takes the Case" combines the start of the cue for Adams' introduction scene with a cue for later in the film when he's talking to Joadson in his home.  Both of these scenes take place before he's decided to take the case (he decides to take the case off-screen, there is no cue for it).
 
In 1999, the Phantom Menace OST track "Star Wars Main Title and the Arrival At Naboo" only contains the very start of the the arrival cue, almost immediately segueing to music from later in the film to end the track.
 
In 2002, the Attack of the Clones OST track "Star Wars Main Title and Ambush On Coruscant" only contains the very start of the ambush cue, almost immediately segueing to music from later in the film to end the track.
 
In 2005, the War of the Worlds OST track "Confrontation with Ogilvy" combined music from the "bodies in the river" scene (which is before the group has met Ogilvy) and the "Red Planet" scene (which begins after Ogilvy is already dead).  The actual cue for Roy killing Ogilvy isn't on the album.
 
In 2015, the Force Awakens OST track "Rey Meets BB-8" combines the "Finding The Map" cue from the very end of the movie with the "I've Found The Droid" cue from the middle of the movie.  Williams recorded 5 different cues for the scene of Rey meeting BB-8, but none of them are on the album.  (The film did track in "Finding The Map" into the scene where they met, so this is sort of an exception I guess).

My mantra while writing it out was "make Daddy Jay proud"

TROS ending with stock music. You're welcome 
 

 

Is the Anthony Daniels March in there?

TROS ending with stock music. You're welcome 
 

 

TROS ending with stock music. You're welcome 
 

 

Very nice obituary by Jon Burlingame, with some nice words from Giacchino
 
https://variety.com/2024/film/news/dan-wallin-dead-music-mixer-1235966619/

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

It's called representation Yavar.
 
Cal Kestis was a godsend for us Gingers.
 
 
😉

The Issues with Gmail banner looking at me everytime I come here like 
 

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

Yep. Complete programs for the prequels would be pretty easy. Complete programs for the sequels … oof. Nightmare. (But one I still fervently hope happens during my lifetime!)

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

You don't. The handful of folks that like "film edits" for whatever reason would inevitably be a bit disappointed, but editing together the music as-recorded is quite simple actually, and still provides a relatively good listening experience. It's the sequel scores that I'd be more concerned with.

https://uk.movies.yahoo.com/movies/star-wars-beau-willimon-co-204420432.html
 
An Andor writer co-writing this, he wrote the Prison Break episode and two others.

We're all very pleased with the final program, keeping it mind that there were factors that lead into some decisions, such as compact disc length, composer preference, fee increases for tracks over 10 minutes long, etc
 
Programming any expansion includes deciding what to do when there are multiple versions of cues in terms of which goes in the main program and which in the bonus tracks, and by and large sticking to having all the versions used in the film in the main program, and all the versions that were not as bonus tracks, made a lot of sense and led to each program being really strong.  Additionally, the careful selection of which score alternates should go at the end of disc 2, instead of disc 3, in order to make disc 3 be the best album it can be, worked out really well.  The one change a lot of people will probably do of taking those disc 2 tracks and adding them to the disc 3 album (as John Takis laid out somewhere here earlier), to basically make a longer Songs & Alts program, which is really just as valid as the structure we ended up with.  However, when released as three physical discs, I am glad that a big bonus program didn't start on disc 2, have a disc break, and then have it continue on disc 3.  It's kind of nicer to have disc 3 be more of its own thing. 
 
Like Mike has said, everything just kind of took a life of its own and came out perfectly in that regard.  The goal was to make a program that pleased us, the composer, and the lyricist, while adhering to the stipulations we had, and of course presenting the songs in the best way possible.  Since most of the songs are piano demos, if they were just lumped together in a row, they don't speak nearly as loudly as they do in the current album 3 configuration where you hear lushly orchestrated versions of the song melodies before or after those demos in the score alternates; it just makes everything work so well that way!
 
 
Now, when it comes down to it, the die hard fans are going to change things around the way they want anyway, and it's impossible to make a program that pleases everyone.  And sure, I'm a diehard fan as much as anyone, so I don't think there's any harm in stating some of my own preferences.
 
For Hook Trailer (Prologue), as much as I like the viola version of Peter's theme, I ultimately think the final performance edit made for the released trailer in 1991 is the strongest version of this music.  I am glad that the new track is completely different takes from that version throughout (instead of sticking the different sections into an otherwise same track), but for me it plays better as a bonus track opener, and keeping the 1991 performance edit version as the main version.  Just my preference.
 
For Yuppie Sounds (Banning Back Home), I prefer Williams' original version, with the fun improv section, over the revision that was recorded at the last minute because of a picture change.  We actually discussed making the original version be main program version, but there actually wasn't space on the discs to swap them, since the original version is a minute longer than the revised one!  But since the revision is what's in the film it worked out nicely in that regard anyway.
 
For the first part of Looney Wendy (The Stories Are True), I prefer the original version with the twisted version of the "Childhood" theme, over the later revision that is just a re-done Forgotten How To Fly with the "Mothers" theme mostly removed.  This version actually was in the main program for a while, but having the "Childhood" version on disc 3 ultimately made that disc so much stronger.  And again because the revision is what's in the film it worked out nicely anyway.
 
For The Lost Boy Chase, I really like the percussion insert section.  But John Williams wanted the album version in the main program.  I don't really think it matters much either way.  If anything, having to present the first two minutes of this cue three times (because it was used in the end credits) is the biggest issue with the final product, but also an issue that just has no workaround.  At least each instance is on a different disc!
 
For the entire grand finale, I prefer to have from Tink Grows Up through The End of Hook to just be one single 24 minute track with all cues seguing directly into each other, instead of broken up into 4 tracks.  Just my preference.
 
One thing I still haven't decided on after all this time is my final thoughts on the Kensington Extension (the final part of Farewell Neverland (Short Version / Alternate)).  At first it was so jarring to hear, but I kind of love it more and more every time I hear it, and am now expecting it when I get to the end of the score.  And yet there's something about the simplicity (for lack of a better word) of the original version's ending that can't be denied.  So, I'm still undecided which I like better! 
 
I think that's about it.  I still haven't fiddled with trying to put God Rest Ye Merry Gentlemen and Take Me Out To The Ballgame in the main program or anything.  And I don't think there's any merit in trying to put the other songs into the main program, not even "Low Below".  Not having Bob Hoskins performing as Smee there would be too weird I think (and you'd have to lose Show Us The Hook, which is one of my favorite parts of the score).   Moira's Lullaby seems like it would fit in well if not for the fact that the Saying Goodnight cue effectively replaces it.

Seems hard to believe, with no other news sources saying anything yet, but lets hope this is real!
 
 
 
 
 
 

No jokes today, just an unfortunate apparent reality.

No jokes today, just an unfortunate apparent reality.